stefan huygebaert (21 Ergebnisse)

x, 284 p. Hardcover. Versand aus Deutschland / We dispatch from Germany via Air Mail. Einband bestoßen, daher Mängelexemplar gestempelt, sonst sehr guter Zustand. Imperfect copy due to slightly bumped cover, apart from this in very good condition. Stamped. Sprache: Englisch.

Zustand: Neuf.

Taschenbuch. Zustand: Neu. Sensing the Nation's Law | Historical Inquiries into the Aesthetics of Democratic Legitimacy | Stefan Huygebaert (u. a.) | Taschenbuch | x | Englisch | 2019 | Springer | EAN 9783030092467 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu.

Buch. Zustand: Neu. Neuware -This book examines how the nation ¿ and its (fundamental) law ¿ are ¿sensed¿ by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are ¿imagined¿ this book suggests that their ¿rightfulness¿ must be ¿sensed¿ ¿ analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 296 pp. Englisch.

Taschenbuch. Zustand: Neu. Neuware -This book examines how the nation ¿ and its (fundamental) law ¿ are ¿sensed¿ by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are ¿imagined¿ this book suggests that their ¿rightfulness¿ must be ¿sensed¿ ¿ analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 296 pp. Englisch.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book examines how the nation - and its (fundamental) law - are 'sensed' by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are 'imagined' this book suggests that their 'rightfulness' must be 'sensed' - analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.

Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - This book examines how the nation - and its (fundamental) law - are 'sensed' by way of various aesthetic forms from the age of revolution up until our age of contested democratic legitimacy. Contemporary democratic legitimacy is tied, among other things, to consent, to representation, to the identity of ruler and ruled, and, of course, to legality and the legal forms through which democracy is structured. This book expands the ways in which we can understand and appreciate democratic legitimacy. If (democratic) communities are 'imagined' this book suggests that their 'rightfulness' must be 'sensed' - analogously to the need for justice not only to be done, but to be seen to be done. This book brings together legal, historical and philosophical perspectives on the representation and iconography of the nation in the European, North American and Australian contexts from contributors in law, political science, history, art history and philosophy.

Hardcover. Zustand: Brand New. 284 pages. 9.75x6.25x0.75 inches. In Stock.

Zustand: Sehr gut. 368 Seiten / pp., mit zahlreichen Abbildungen / richly illustrated; Einband mit leichten Gebrauchspuren, Besitzervermerk / kleines Monogramm des Vorbesitzers, insgesamt sehr schön / Cover with slight traces of use, previous owner`s name / monogram, very good condition. No shipment to the US. Sprache: Französisch Gewicht in Gramm: 1400 4°, 29 x 22 cm, Festeinband / Hardcover.

Taschenbuch. Zustand: Neu. The Art of Law | Artistic Representations and Iconography of Law and Justice in Context, from the Middle Ages to the First World War | Stefan Huygebaert (u. a.) | Taschenbuch | xxiii | Englisch | 2019 | Springer | EAN 9783030081003 | Verantwortliche Person für die EU: Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg, juergen[dot]hartmann[at]springer[dot]com | Anbieter: preigu.

Buch. Zustand: Neu. Neuware -The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations inpaintings, statues, drawings, tapestries, prints and books on the other.Springer Verlag GmbH, Tiergartenstr. 17, 69121 Heidelberg 484 pp. Englisch.

Taschenbuch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations inpaintings, statues, drawings, tapestries, prints and books on the other.

Buch. Zustand: Neu. Druck auf Anfrage Neuware - Printed after ordering - The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations inpaintings, statues, drawings, tapestries, prints and books on the other.

Paperback. Zustand: Brand New. reprint edition. 484 pages. 9.25x6.10x1.09 inches. In Stock.

Paperback. Zustand: Brand New. reprint edition. 484 pages. 9.25x6.10x1.09 inches. In Stock.

Le genre de la nature morte a joué un rôle essentiel dans l'oeuvre de James Ensor (1860-1949). Initialement formé au sein des mouvements impressionniste et symboliste, le peintre belge d'avant-garde a progressivement élargi son champ d'expérimentations, jusqu'à devenir un précurseur essentiel de l'expressionnisme. Son ingéniosité artistique s'est révélée déterminante au sein du mouvement de rénovation de la nature morte en Belgique, qui avait décliné, au début du 19e siècle, devenant un genre mineur à seules fins décoratives et sans contenu.Au cours de sa longue carrière, Ensor a profondément influencé de nombreux artistes qui, à partir de 1880, se sont orientés vers le modernisme. Ce catalogue et l'exposition qu'il accompagne proposent un voyage exceptionnel dans les pas d'Ensor à travers l'histoire de la nature morte en Belgique de 1830 à 1930. Outre l'analyse de ce genre chez le maitre ostendais, cet ouvrage explore la tradition académique de la peinture décorative belge au 19e siècle et le renouvellement de la nature morte, au début du siècle suivant, par des artistes tels Léon Spilliaert, Jean Brusselmans ou Gustave Van De Woestyne.

PB, 260 x 210 mm, ENG.,176 p, NEW, 160 illustraties. ISBN 9789462303638. This book offers a unique journey through the history of still life in Belgium in the 19th and early 20th centuries, with Ensor as guide. Still life played an important role within the oeuvre of Belgian expressionist and symbolist painter James Ensor (1860-1949). The quality and significance of his intriguing, complex still lifes become clear when placed within the broader development of the genre in Belgium between 1830 and 1930. The still life, which in the early 19th century had degenerated into a decorative genre, devoid of content and artistic importance, was artistically revalued in various ways throughout the nineteenth century: by monumentalising it, by animating the image with dolls and masks, through exoticism, or by making it part of an interior. In this, Ensor's work is the most inventive. Moreover, his long career added to Ensor's artistic impact on many artists who from 1880 onwards lapped towards modernism. His late still lifes - often transformations of early works - are little known and intriguing. Besides an overlook of this important part of Ensor's oeuvre, the book offers an overview of the 19th-century Belgian academic tradition of decorative painting, with intriguing work by lesser-known painters such as Jean Robie, Hubert Bellis, Frans Mortelmans and Henri De Braekeleer, and forgotten female artists such as Berthe Art and Alice Ronner. In the early 20th century, artists such as Louis Thevenet continued to develop the genre of still life in a traditional manner, while innovators such as the late James Ensor, Léon Spilliaert, Marthe Donas, Walter Vaes and Gustave Van de Woestyne created highly personal interpretations. This tradition of the still life painting ends with artists such as Jean Brusselmans and René Magritte, who deconstructed the pictorial space of the 'theatre of things'. This book is published on the occasion of the first exhibition ever entirely devoted to James Ensor's still lifes at Mu.ZEE (Ostend). 790 g.

PB, 260 x 210 mm, NL, 176 p, 160 illustraties, Nieuw. ISBN 9789462303621. Dit boek biedt een unieke reis door de geschiedenis van het stilleven in België in de negentiende en twintigste eeuw, met James Ensor als gids. Het stilleven speelde een belangrijke rol in het werk van de Belgische expressionistische en symbolistische schilder James Ensor (1860-1949). De kwaliteit en betekenis van zijn intrigerende en complexe stillevens wordt duidelijk als ze binnen de ruimere ontwikkeling van het genre in België worden geplaatst, tussen 1830 en 1930. Het stilleven, dat in het begin van de negentiende eeuw verworden was tot een decoratief genre zonder inhoud en artistiek belang, werd artistiek geherwaardeerd in de loop van de negentiende eeuw; door het te monumentaliseren, door het beeld te verlevendigen met poppen en maskers, door exotisme, of door het op te nemen in een interieur. In dat opzicht is het werk van Ensor het inventiefst. Bovendien droeg zijn lange carrière bij tot zijn artistieke invloed op vele kunstenaars vanaf 1880 tot aan het modernisme. Zijn late stillevens - vaak aanpassingen van vroege werken - zijn weinig bekend en intrigerend. Naast een onderzoek van dit belangrijke deel van Ensors werk biedt het boek ook een overzicht van de negentiende-eeuwse Belgische academische traditie van decoratieve schilderkunst, met intrigerend werk van weinig bekende schilders zoals Jean Robie, Hubert Bellis, Frans Mortelmans en Henri De Braekeleer, en vergeten vrouwelijke kunstenaars zoals Berthe Art en Alice Ronner. In de vroege twintigste eeuw ontwikkelden kunstenaars zoals Louis Thevenet het genre van het stilleven verder op de traditionele manier, terwijl vernieuwers zoals de late James Ensor, Léon Spilliaert, Marthe Donas, Walter Vaes en Gustave Van de Woestyne heel persoonlijke interpretaties maakten. De traditie van de stillevens eindigde met kunstenaars zoals Jean Brusselmans en René Magritte, die de picturale ruimte van het 'theater van de dingen' deconstrueerden. Dit boek wordt gepubliceerd ter gelegenheid van de eerste tentoonstelling ooit die volledig aan de stillevens van James Ensor is gewijd, in Mu.ZEE (Oostende), 16/12/23 - 14/04/24 0 g.

PB, 260 x 210 mm, Edition Fr., 176 p, 160 illustrations en couleur, Nouveau, . ISBN 9789462303614. Ce livre propose un voyage unique à travers l'histoire de la nature morte en Belgique au 19e siècle et au début du 20e, avec Ensor comme guide. La nature morte a joué un rôle important dans l'ouvre du peintre expressionniste et symboliste belge James Ensor (1860-1949). La qualité et l'importance de ses natures mortes complexes et intrigantes apparaissent clairement lorsqu'elles sont replacées dans le contexte plus large de l'évolution du genre en Belgique entre 1830 et 1930. La nature morte, qui avait dégénéré au début du 19e siècle pour devenir un genre décoratif sans contenu ni importance artistique, a été revalorisée de diverses manières tout au long du 19e siècle : par la monumentalisation, l'animation de l'image avec des poupées et des masques, l'exotisme ou l'intégration dans un intérieur. À cet égard, l'ouvre d'Ensor est particulièrement inventive. En outre, sa longue carrière a renforcé son impact sur de nombreux artistes, qui se sont tournés vers le modernisme à partir de 1880. Ses natures mortes tardives - souvent des transformations d'ouvres antérieures - sont peu connues et fascinantes. Outre un aperçu de cette partie importante de l'ouvre d'Ensor, l'ouvrage propose un panorama de la tradition académique belge du 19e siècle en matière de peinture décorative, avec des ouvres intrigantes de peintres peu connus comme Jean Robie, Hubert Bellis, Frans Mortelmans et Henri De Braekeleer, et de femmes artistes oubliées comme Berthe Art et Alice Ronner. Au début du 20e siècle, des artistes comme Louis Thevenet ont continué à développer le genre de la nature morte de manière traditionnelle, tandis que des innovateurs comme James Ensor, Léon Spilliaert, Marthe Donas, Walter Vaes et Gustave Van de Woestyne en ont donné des interprétations très personnelles. Cette tradition de la nature morte s'achève avec des artistes comme Jean Brusselmans et René Magritte, qui ont déconstruit l'espace pictural du "théâtre des choses" 790 g.

Hardcover, 292 x 245 mm, 192 pages, ENG edition FINE- Illustrated.*NEW. ISBN 9789464666397. Harmonious use of colour and delicate paintwork in a superb overview of the artist Anna Boch The versatile Anna Boch (1848?1936) was not only a talented artist, but also a highly knowledgeable collector, generous patron, and enthusiastic traveller with a great love of music and architecture. She was the only woman to become a member of the prominent art societies Les XX and La Libre Esthétique, and she was treated as an equal by her fellow artists. Inspired by kindred spirits including Théo van Rysselberghe, Paul Signac and Georges Seurat, Anna Boch set about developing her own personal version of Neo-Impressionism. Anna Boch?s lucid paintings chart her search for line and colour. Her passion for nature took her to remote destinations and imbued her with dreams of beautiful bucolic landscapes that she wanted to interpret. She loved the sea and succeeded in capturing the light and its reflection upon the coast with unparalleled skill, translating it into intriguing but above all timeless compositions. This book presents her oeuvre with more than 100 works, and resolutely claims a place for Anna Boch in the art history of the 19th and 20th centuries. This book is published on the occasion of the exhibition Anna Boch, An Impressionist Journey at Mu.ZEE, Ostend from 1 July until 5 November 2023, and at the Musée de Pont-Aven from 3 February until 26 May 2024. Edited by Virginie Devilez, with the cooperation of Stefan Huygebaert and Wendy Van Hoorde. 1620 g.

Zustand: Very good.